For all of its flirtation with the possibility of desire between men, Steven Moffat and Mark Gatiss’ BBC series Sherlock refuses to give its audience a straight answer about the sexuality of its central characters. In this journal paper, I offer a way of thinking queerly about Sherlock that attends to the logic of its canonical source material in which knowledge about the world is drawn from what can be seen and consider its implications for an imagined post-homophobic cultural space.

Research paper published in the journal Adaptation. First published online November 30, 2014 doi:10.1093/adaptation/apu039. Link to free abstract.